In this chromagram, the key changes/modulations of Love On Top (which I explained in the self-similarity matrix) are shown more clearly. As you can see, after 180 seconds the song switches from C major to Db major, D major, Eb major, and lastly to E major.
Nowadays, Beyoncé is one of my favorite artists. One of the reasons I like to listen to Beyoncé’s music is because she has such a diverse style in her albums. You can find various music genres come back in her music, like R&B, soul, (dance)pop, and hiphop. Therefore, I can mostly rely on at least some of her songs to be fitting to my mood. So far she has produced the following albums, among others:
On extravagant moments I like to listen to 4, if I want to listen to old pop classics like Halo, I put on I Am Sacha Fierce, and when I’m not feeling well I listen to Lemonade for a boost of self-confidence. Because I like Beyoncé’s diversity in styles and genres in and between albums, I will research with the SpotifyR features how her music has developed over the seven albums I’ve mentioned above. By applying and researching the SpotifyR audio features acousticness, energy, valence, dancaebility, speechness, and key of her albums, I’m hoping to see a shift in these features, so I know that I am not being illusional about the variety of Beyoncé’s music. To dive a bit deeper in Beyoncé’s songs, I would like to compare an earlier song Halo with a more recent song Drunk In Love, and see how the structure and timber of these songs differ on a deeper level.